0000000000343635
AUTHOR
Alicia Giménez
Optimal Volume for Concert Halls Based on Ando’s Subjective Preference and Barron Revised Theories
[EN] The Ando-Beranek s model, a linear version of Ando s subjective preference theory, obtained by the authors in a recent work, was combined with Barron revised theory. An optimal volume region for each reverberation time was obtained for classical music in symphony orchestra concert halls. The obtained relation was tested with good agreement with the top rated halls reported by Beranek and other halls with reported anomalies.
Subjective ranking of concert halls substantiated through orthogonal objective parameters.
[EN] This paper studies the global subjective assessment, obtained from mean values of the results of surveys addressed to members of the audience of live concerts in Spanish auditoriums, through the mean values of the three orthogonal objective parameters (Tmid, IACCE3, and LEV), expressed in just noticeable differences (JNDs), regarding the best-valued hall. Results show that a linear combination of the relative variations of orthogonal parameters can largely explain the overall perceived quality of the sample. However, the mean values of certain orthogonal parameters are not representative, which shows that an alternative approach to the problem is necessary. Various possibilities are pr…
Calidad de salas para música clásica
Finding a parameter which allows establishing if a concert room is good for orchestral classical music performances or not is one of the main interests in room acoustics. However, rooms are usually characterized by average values of some acoustic parameters. From the optimal values mostly recognized, specialists can consider a room adequate or not for a certain use. In recent works, we have obtain we have obtained a model for classifying a room for classical music performances, from the reverberation time (T30), the lateral energy factor coefficient (LFC) and the listener envelopment (LEV). From this model, we can determine the quality maps for these rooms. In this paper, we show the qualit…
On the relations between audio features and room acoustic parameters of auralizations
The usual parameters in room acoustics are used to quantify the acoustic characteristics of rooms and their relation to the subjective perception of transmitted signals. Audio features (calculated with MIRToolbox) have been designed to study the relationships between the characteristics of musical audio files and their subjective perception. Both musical characteristics and acoustic parameters are oriented towards acoustic perception. By using auralizations with calibrated models of auditoriums and tools from the MIRtoolbox it is possible to jointly work with the calculation of audio features and room parameters. In this work, the statistical correlations between C80, STI, D50, EDT, RT and …
Objective evaluation of the width of source ensemble in virtual halls
[EN] In this work, we study the effects of the width of the sound source in several acoustical virtual room models with different topologies, sizes and uses, calibrated with commercial software. To achieve this aim, a square distribution of sound sources with variable side length has been considered. We have auralized four channels of speech signal and musical signal in three different locations in each room. By using signal processing techniques, a comparison of multisource auralizations with the ones obtained from a single source in the middle of the stage is made. Also, the variations between the usual room parameters obtained from these simulations are analyzed, in order to show the eff…
Virtual Acoustic Reconstruction of the Church at the Lost Monastery of Santa Maria de la Murta
Archeological acoustics is a part of acoustics that studies ancient environments which were dedicated (completely or partly) to sound performing. The combination of this acoustic area in conjunction with room acoustics enables the study of the acoustic evolution of existing buildings (in terms of the historical documentation) or even, make the acoustic reconstruction of rooms which were destroyed or they are in a bad state or in ruins. In this work, an acoustical reconstruction of the church of the Hieronymites’ monastery of the Murta from the XIV century, in Alzira, Spain has been developed. This building was abandoned in 1836 and now is in ruins. The work develops a geometrical model, tog…
Mismatches between objective parameters and measured perception assessment in room acoustics: a holistic approach
Psychoacoustic research in the field of concert halls has revealed that many aspects concerning listening perception have yet to be totally understood. On the one hand, the objective room acoustics of performance spaces are reflected in parameters, some standardized and some not, but these are related to a limited number of perceptual attributes of human response. In general, these objective parameters cannot accurately describe the acoustic details due to their inherent simplification. Under these premises, impulse responses (576 receivers) are measured in 16 concert halls, according to standard procedures, and the perception and satisfaction of the occupants of the rooms are evaluated by …
Subjective Assessment of Concert Halls: a Common Vocabulary for Music Lovers and Acousticians
In recent years we have interviewed members of the audience after musical performances and asked them to evaluate the acoustics of the concert halls. A group of music lovers (with a high level of musical training and experience) and acousticians (with a wide knowledge of the physical characteristics of sound transmission) also attended each performance and answered the same questions as the general public. This group thereby served as a control group when evaluating surveys of the general public. In this paper, the results obtained when analyzing these control group surveys are presented. This analysis shows that a common vocabulary exists between music lovers and acousticians when rating a…
Room acoustical parameters: A factor analysis approach
Abstract In this study, we determined the most representative acoustical parameters for halls intended for verbal or music audition. Our study was carried out in nine halls of different shapes and designed for different uses. We measured the impulse response at a great number of points (many more than the minimum required by the ISO 3382 norm). From a physical viewpoint, all halls are enclosed three-dimensional areas. Our work hypothesis is that objective (measurable) acoustical parameters, or a combination of such parameters, must provide the acoustical information specific to each hall and must make it possible to grade each hall. Factor analysis was used to obtain these grading parameter…